a dream of chaos

content warnings: self-harm, suicide, general sickness and medical issues

A weird realization I’ve had after spending a lot of my time this week in the hospital: one of the things I miss is clutter. My home is full of clutter, something I’ve generally felt pretty bad about. Little piles of papers, a box of Magic cards, a notecard cut up into tiny squares for some reason, the spices I use most frequently scattered on the counter, Animal Crossing device controllers, books, my clean laundry occupying half the bed. I often think that I should reorganize for a less clutter-filled life.

But that comfortable clutter represents my actual life. Not the cleared countertops and put-away clothing and boxes tucked away that guests experience, but my real life strewn about, in easy reach, representing the things I love. Marie Kondo would understand; these things bring me joy. 

It’s complicated, though, and, if I’m trying to be easier on myself about the clutter, I’m also highly aware of how clutter can come to represent something much more problematic. I’ve spent too much time at my dad’s house these past few months to be able to think about clutter without worrying over my future in cluttered living. His house is more like something you’d see on TV on a reality show, the sort of place that would give Kondo pause. His bedroom is just piled with clothes on the bed and in the wardrobe and closet; he must have been sleeping only on the couch and in his truck for years. There is literally a pathway wending through the downstairs area. Stacks of boxes teeter, piles of drafts and papers looming on all sides. Machines, more boxes, an actual motorcycle. It’s– troubling. 

Acorns on a pan. Why?
I’m not including the more graphic pictures here, but this one is the inexplicable acorns on a baking sheet I found in my dad’s house.

But here in the hospital, I’m learning to think about Aristotle’s golden mean with more understanding. The clear, empty floors make me long for my floors, lined with my kiddo’s toys, my running shoes, and all of my yoga equipment. The glistening counters make me think of the coffee cup I left out four days ago and how much joy it brings me just to see it there, even when I haven’t tidied it. Everything is white and gray gray gray, and my vibrant clutter seems much more appealing in comparison. 

My cortisone levels were surging when we first got here; my offspring’s emergency surgery, a lingering infection, and a litany of mini crises will do that. Today, on day six, I’ve been thinking of my dad. It doesn’t help that my sweet child here looks just like him. And I’m thinking of my father’s last days in a hospital, not this one, but certainly similar in feeling. Did he long for his vibrant clutter? Did he think of some particular tottering pile of papers and think, gosh, I hope it doesn’t fall over. I’ll lose the order of the pages. 

He asked the doctors to kill him in the end. That’s what he always told me he’d do; well, he told me that he’d do it himself if he were dying. “I’ll shoot myself in the head,” he told me once when I was maybe 20. 

But he didn’t. He died alone in a hospital room, probably not one dissimilar to this one, where I’m sitting now beside my suffering child. 

Here’s the truth though. When I first thought of my dad this morning, I wasn’t thinking of him at the end, in a hospital bed refusing to be intubated. I thought about him when I went down the hallway to cry by myself for a while and tried to remember something that would make me feel better. When I was younger and worried or scared, my go-to image was of my dad. He always sent me flowers on my birthday, and I bought him socks for his birthday every year. Thinking of him and the flowers he always remembered to send and the socks he always immediately started wearing were thoughts that, once upon a time, made me feel better. 

Statue above a toilet. Why?
This is the statuary in the upstairs bathroom of my dad’s house.

Last time I was at his house, I found an open bag of socks, just like the kind I used to send him, and they looked old enough to be those. And I can understand how comforting clutter can become immoblizing clutter, the kind of clutter that feels impossible to remove or even to want to remove. 

And it’s not even a metaphor: home clutter reflects brain clutter. My dad’s house is full of fascinating clutter, from chess sets and notebooks full of scribbled poetry to horrifying porcelain clowns and indecipherable machines. It’s full of puzzling clutter: an entire pot full of keys, a pan scattered with acorns, notes stuffed into pill botttles. Then there are the other kinds… the shattered glass on the porch, the hundreds of empty cat food cans, the piles of mail weighing down the table. I understand, not academically, not intellectually, but visercerally, how one gets there. 

I’ll conclude by adding another complication here, this one via Michel Serres and the concept of “noise.” Serres’s noise is a complex concept, and for now I’ll just say that he describes noise as being any unintended texts that are mixed up with a message. That is, in writing this essay, I intend a particular message, which I’ll post on my blog. When you, dear reader, encounter my blog, you also have to accept the noise that includes ads on this webpage, language differences between me and you, the constraints of the medium itself, and a plethora of other possible things. Sometimes, the noise and the message are inextricable to the reader. Communication is only possible because of noise, but noise also makes it impossible for the rhetor and audience to perceive the same message. 

Clutter is a physical version of noise (which Serres also calls the parasite). As a person, I mediate the world through material possessions, and my existence is only possible because of them. This clutter both contributes to my existence and makes it more challenging for me to decipher physical signals in the world. The answer is not to eliminate noise or clutter (one can’t), but also to recognize the generative qualities of noise/clutter. Change and possibility emerge from dynamic spaces, and clutter/noise is an aspect of that dynamism. 

Eventually, I’ll cultivate this thinking further, and see how it aligns with the work I’m doing around the philosophy of hope. For now, I’ll sit in an uncluttered space and dream of chaos.

A clown looks at you from the top shelf of a bookshelf full of books and knick knacks.
A troubling clown gazing down from the top of my dad’s bookshelf.

Mouthful Mode

“You are what you eat,” is an adage I heard a lot as a child, and one that resulted in me being affectionately referred to as Noodle for a blessedly brief spell. It’s one of those adages that seems at least truth-adjacent. Our cells are created and refurbished using the food that we consume, so there is a pretty literal sense in which we are (or become) what we eat. 

It was important to me to draw Kirby for the purposes of this essay.

Of course, that’s not how anyone means the saying. If I eat broccoli, do I become ontologically more broccoli-like? I am somehow grittier when I eat grits? Sweeter when I eat cookies? To be honest, once you really think it through, it’s not a very useful adage. Happily, I dismissed it as a child. 

If we open it up a bit, though, we might find that the epigram has more meaning than a literal understanding would reveal. We aren’t so much what we eat as we are what we consume. As a person who is currently on a social media hiatus because I can’t stop doomscrolling, I can affirm that the media, ideas, and conversations we consume do become a part of our mental landscape. The discourse communities with which I engage inform my thinking. “We are what we consume” is still too simplified; of course, we synthesize, analyze, and deconstruct ideas from media sources and do not only embody them. But there is a certain resonance to the idea there. 

Enter Kirby and the Forgotten Land. There is a whole philosophical history to the world of Kirby; Kirby, from his Gameboy start, has been consuming things, people, and bits of his world. He, back then, generally spat them back out again or consumed them the way we mere humans do food. Eventually, Kirby began consuming and then taking on the characteristics or powers of those he consumed, truly becoming what he ate. Even when Kirby takes on these characteristics, though, he retains a certain Kirby-ness. The classic Kirby shape and face were still present, but Kirby might don a jaunty cap or develop a hairstyle or hold a weapon of some kind. None of these becomings changed his essential Kirbyness. 

I did not get better at drawing Kirby. My work became increasingly unhinged. This, too, is Kirby.

Until 2022 and Mouthful Mode. In Kirby and the Forgotten Land, Kirby still consumes enemies and takes on their abilities, signified by external symbols, like hats or weapons. But Kirby also enters Mouthful Mode, when he consumes something large enough that is no longer Kirby-shaped but takes on the shape, characteristics, and limitations of the items he consumes. For example, Kirby can become a car; he is the shape of the car, he speeds up and runs over things like a car, and he is constrained by ledges or smaller spaces into which cars cannot proceed. Kirby can become a vending machine, spitting out cans and wobbling around, constrained by the number of cans he can hold and by spaces into which vending machines cannot awkwardly wobble. Kirby can become a glider, whooshing through the sky and manuevering through rings but unable to negotiate the ground. In each of these cases, Kirby takes on the shape of the Mouthful Mode object, but he, Kirby, is wrapped around it, encapsulating it, and consuming but not synthesizing it. 

What then is Kirby?

What then is Kirby? Kirby is round. But no, Mouthful Mode defies that. Kirby can be any shape. Kirby is pink. Though, of course, in Smash brothers, he can be a pantheon of colors and originally he wasn’t a color at all. The consistent component of Kirby, the extant quality of Kirby is really his mouth. Kirby is a mouth, Kirby is the very idea of consumption. 

I could go on a whole tangent here about capitalism, but I’m not going to do that. At the end of the day, Kirby isn’t about capitalism (and you know it pains me to note it). Sometimes, Kirby collects coins, and in Kirby and the Forgotten Land, Kirby is rescuing incarcerated Waddle Dees, and that all seems super-relevant to capitalism. 

No, Kirby reminds me that I think Kirby is about capitalism because that’s the kind of thinking I consume. This week, I’ve read a number of pieces on prison abolition and capital and even took a peek at Marx’s Capital. Of course I think Kirby is about capitalism. Kirby is a brilliant, funny, compelling game that children and adults can enjoy, but ultimately Kirby is saying that all of the things you consume, they make you what you are. Beware the problematic faves, beware the devil’s advocate, the counterpoints– you become them, too. You are a mouth who becomes that which you consume. 

Consuming Kirby though? That’s different. Consumption without synthesis of consumption itself– the center here cannot hold. Things fall apart. Meaning is impossible. Scientists this week revealed pictures of the black hole at the center of the galaxy, and, guess what?, it’s Kirby-shaped. All that quantum physics we can’t quite sort, that’s Kirby. 

2022, babies. It’s Mouthful Mode. 

Mouthful Mode.